Ionisation (1929-31). Edgard Varèse

One reason is the lack of composers who are able to create new music
which has all the needed, critical elements: memorable melodies,
engaging rhythm and pleasant harmonies and sonorities... But music has to be acceptable to our ears, not just to consist of loud meaningless sound effects.

I both agree and disagree with that last statement, especially with respect to live concerts. I don't need my music loud (any more) and I generally prefer a more intimate setting. But intimate need not mean "pleasant." What are meaningless sound effects to him could be compelling timbre to me. Having spent the last forty years stretching my ears by listening to a large and diverse body of recorded sound, for example this week, a Merzbow remix of Xenakis, the prospect of hearing a traditional orchestra playing traditional repetoire isn't enough to get me to pay for the experience (any more).

I suppose my interest in works by John Adams, Elliott Carter and Edgard Varèse doesn't qualify as traditional, either.

Finally, I have no informed opinion about performance practice per se but Mr. Talvi's oft-interesting post also includes this:

I don’t think that anyone should conduct or sing a sacred piece of
music unless they thoroughly understand the meaning and symbolism of
every phrase.

Comments

About that quote: "I don’t think that anyone should conduct or sing a sacred piece of music unless they thoroughly understand the meaning and symbolism of every phrase." I would agree, but only if the composer has an equal understanding. Sometimes I'm not convinced. Eg. Webern's settings. I think the text was just a convenience.

I think I understand what is meant by the statement, "I don’t think that anyone should conduct or sing a sacred piece of music unless they thoroughly understand the meaning and symbolism of every phrase." I agree with the statement to the extent that it is attempting to say that the most convincing performances of sacred music are those that stem from an informed, thorough understanding of the interplay between the music and the text. And I would go a step further and add that the most moving performances often come when the performer(s) are further aided by an emotional and even spiritual resonance with the text. But, of course, I would not say that one should be otherwise considered unqualified to conduct or sing the piece.